…this is not like any symphony of Shostakovich’s. Weinberg sounds like Weinberg. Perhaps surprisingly, given the fact that around half a dozen of his Symphonies have still not been commercially recorded, the Sixth has been done at least five times, most recently by Vladimir Fedoseyev and the Vienna Symphony Orchestra and Singverein… Taking into consideration audio quality and the presence of a splendid native-Russian choir, this Naxos recording must be the new first choice.

Naxos’s series of Weinberg releases, which so far includes three CDs of his cello music, is augmented here with this release of his wonderful Rhapsody on Moldavian Themes and innovative Symphony No. 6.

The Rhapsody begins softly, mysteriously, but builds into an impressive musical structure in which the music almost morphs from one section to another rather than sounding forcibly juxtaposed. These Moldavian themes have a certain Sephardic quality about them, a soulful minor-key tendency that influences one’s emotional reaction to the music even in the most energetic passages. Wisely, too, Weinberg does not over-write, so the piece doesn’t overstay its welcome.

These both are terrific works, and you’re missing out if you don’t get to know them. The symphony dates from 1963, and reflects both the composer’s Jewish background and his sympathy—and hopes—for young people. For me, it is a completely satisfactory presentation of a very fine symphony.

The symphony is preceded by the Rhapsody on Moldavian Themes, a work from 1949. This is less serious in tone than the symphony, and less innovative in form, but still the work of a composer who knows how to express himself. Apparently Weinberg uses real Moldavian folk melodies, but even if this is a medley, it is not a simple-minded concatenation of tunes, but a work of imagination and personality. Again, it is given a very satisfactory performance by Lande and the St. Petersburg State Symphony Orchestra.

…the Sixth Symphony…is a dark work, with a long first movement filled with tension and emotional turmoil…a powerful impression is left.

There are three middle movements approximately half as long…and a finale of about ten minutes in length. The second, fourth and fifth movements feature a boys chorus, and the first of these is quite colorful and rhythmic, with a text on youthful subjects by Lev Kvitko…

The [Rhapsody on Moldavian Themes] is a 15-minute work that brings much Slavic color into its concise form. It is a good prelude to the more ambitious, sprawling Sixth Symphony, which is scored for large orchestra and boys’ choir.

…the 6th is a work of great dynamism and charm, and the presence of the boy’s choir gives it a sort of youthful innocence to contrast with some of the more caustic, somber moments.

There is always clarity, a seeking of "chamber" effects from large forces; there is always a sense of musical architecture as well as one of musico-dramatic continuity. Weinberg's skilful use of the entire tonal palette—including sotto voce percussion—never lets the orchestra overwhelm the voices.

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